Canibitcrrs

CAMPAIGN BOOK

“I’VE SEEN white men tui
yellow with fear, yellow m-
turn white with horror
things, stranger than you e^
dreamed, happened...
there on the waterfront l

“Me, getting a dame in h
her father in k
myself in a j

COVER. THE

WATERFRONT

C L

COLBERT

BEN LYON

ERNEST TORRENCE

Prejenfed by Joseph M. Schenck
Produced by Edward Small
From fh. fomoor book b, Mox Millor

UNITED

ARTISTS

PICTURE

UNITED ARTISTS U *?^*

ADDED
ATTRACTIONS

9 —four Cal. Ad (Mat .20; Cut .80)

UNITED ARTISTS

COVER YOUR CITY /EXP

ON 11 1 COVER THE WATE

Joseph M. Schenck presents

1 COYER

THE

WATERFRONT

wilfc CU«d«tt« Unit.d ArthM Ptclur.

COLBERT • BEN LYON
ERNEST TORRENCE

17—One Col. Ad Slug

(Mat .05; Cut .20)

■0VER.THE
WATERFRONT-

"I know ‘inside’ stories that
would shock the public!
I’ve seen sharks get men at
sea ... and women get ’em
on shore. I’ve seen every¬
thing...and done everything”

UNITED

ARTISTS

PICTURE

1 ^.

T

CLAUDETTE COLBERT
BEN LYON
ERNEST TORRENCE

Presented by JOSEPH M. SCHENCK

Produced by Edword Small
From the famous book by Max Miller

10—One Col. Ad

(Mat .05; Cut .20)

Tabloid Newspaper
As Seat

- DAILY

STORHJN WATERFRONT EXPOSED!

Dial Rants At Reporter Who Betrayed Her Da off

Seller

The theme of
“I Cover The
W aterfront”
makes a tabloid
newspaper an ab¬
solute necessary
part of your ex¬
ploitation cam¬
paign. Just as the
picture reflects
the inside story,so
can your tabloid
newspaper act as
a teaser to attract
throngs to your
theatre. This tab¬
loid has a back
page left blank
for your imprint
and theatre play-
date. In many in¬
stances you can

sell a portion of this space to merchants tying up with
the picture and thus help reimburse yourself for the
original nominal cost of the tabloid. Each page of this
four-page newspaper measures 1034" by 16". The cost
is as follows:

1,000 $3.95

1 to 5,000 3.75 per thousand

5 to 10,000 3.50 per thousand

Above 10,000 3.25 per thousand

Extra charge for imprinting back page with your
copy is $3.00 for composition and $1.50 per thousand
impressions. These tabloids are not carried at the
United Artists Exchanges but should be ordered direct
from

EQUITABLE PUBLISHING COMPANY
409 Pearl Street New York City

T HE BEST investment a showman will ever
make will be to spend money on exploiting
“I Cover the Waterfront!” Here’s a picture
that simply cries out loud for exploitation. There’s
nothing overlooked. You have romance, you have
daring revelations of inside stories that never saw
print before, drama, seething among strange people.
What a picture to twenty-four-sheet around your
town. Your gross will be as big as you make it.
Don’t overlook the music angle. A marvelous song
has been written entitled “I Cover the Waterfront”
which is being plugged over the radio stations from
coast to coast. The novel is in its tenth edition and
still going strong. The trailer carries a punch typi¬
fied by one of its title cards—“I have seen every¬
thing—done everything—‘I Cover the Water
front’.” The tabloid newspaper mentioned on the
lower left is another seat-selling stunt that you
should take advantage of. Here’s a story with a
news value that lends itself to sensational journal¬
ism. There’s nothing soft or molly-coddlish about
‘‘I Cover the Waterfront.” Yes, it has its moments
of romance, but at the same time its plot is dipped in
steel, strong, exciting, nerve racking. It is up to
you to cover your city with exploitation. Cover
your local press with publicity material. Cover
your merchants’ windows with stills, and last but
not least, cover your box-office with cash.

TTT

E

lOo >

mm

Song Hit

Written by

John W. Green and
Edward Heyman

Johnny Green and Edward Heyman,
song hit writers extraordinary, famous
for such numbers as “Body and Soul,”
“I’m Yours,” “Out of Nowhere,” and
others, have written a beautiful song en-^
titled “I Cover the Waterfront.” On itsf^
first coast to coast broadcast it was spon¬
sored by Rudy Vallee and aroused so
much comment that it is destined to be
among the best sellers of the season. The
title cover shown above is a strong plug
for the picture, so be sure that as soon
as you book the film you contact one of
the following Harms representatives.
They will supply you with title sheets
and orchestrations which you can plant
with local radio stations, dance bands
and hotel orchestras.

Harms, Inc., Music Publishers

H. M. Spitzer, Gen. Mgr.

62 West 45th Street, New York City

Boston, Mass. 433 Little Building _

Charles Goldberg j

Detroit, Mich.6103 Yorkshire Road /

Billy Knight 1

Chicago, Ill. 904 Woods Theatre Building

Joe Dracca

Los Angeles. Calif. 6425 Hollywood Blvd.

Lucky Wilbur

COVER. THE
WATERFRONT

“I’ve seen the dirtiest man
that ever lived turn into the
cleanest man that ever died,
that his daughter, the one wo¬
man he loved,
might marry
me, the one
man he hated.

IcOVEkTHE
FATERFkON

CLAUDETTE

COLBERT

BEN LYON

ERNEST TORRENCE

Novel Now In Tenth Edition

Immediately on publication, “I Cover
The Waterfront” caught the fancy of the
public. Critics from coast to coast raved.
The book stormed from one edition to
another until now it has already passed
its tenth edition and is still going at a
terrific pace. Its virile theme, and its
easy-going style of writing made it a
word-of-mouth success from the very
start.

Special Book Jacket

On the left is illustrated a special book
jacket prepared by Dutton’s, the pub¬
lishers. You will note it has an illustra¬
tion of Claudette Colbert on the cover
and on the back cover of the jacket is a
special drawing showing various scenes
taken from the motion picture version
of the novel.

Window Card

On the right is a window card
for use of leading booksellers
throughout the country in connec¬
tion with the displaying of the book
simultaneously with the running of
the picture at your theatre. These
cards are supplied to book dealers
free of charge by the publishers.,
-long with book jackets and other
display materials.

As soon as you date the picture, it
is important that you take full cog¬
nizance of this free tieup available
for your benefit. The book is so well
known in all communities through¬
out the country that it will give the
coming of the picture to your city
an advance ballyhoo that will build
up the prestige of the film to a
great extent. If you already know
the bookstores in your locality that
handle Dutton's novels, work direct
with them. However, if you require
any additional information or free
display material, write direct to

E. P. Dutton Co.

300 Fourth Avenue
New York City

LOITATION f

HFRONT"/

Reporter’s Note Book

A Teaser Novelty

Here is a give-away of an unusual nature. This page, supposedly torn
from a reporter’s notebook, is printed on coated stock and the size is
by 8 inches when open, and 5 y 2 by 4 inches folded. The title of the picture
is hidden in the message shown on the left. However, by turning over the
flap of the folder the words, “I Cover The Waterfront” appear through
the die-cut openings. Your theatre imprint and playdate'is prominently
displayed on the back. This novelty is priced as follows:

500.

First 1,000 .

3,000

5,000 .

10,000

Order these direct from
ECONOMY

$5.00

6.00

5.50 per thousand
5.00 per thousand

4.50 per thousand

NOVELTY PRINTING CO.
239 West 39th Street
New York City

V

Ten and ink impressions on "9 Goner The Waterfront"

Tie

Up

COVER. THE
WATERFRONT

NEWSPAPER ART FEATURE

(6—3 col.—Mat 15c. Cut 60c.)

With Your Local Paper

If your theatre is located in a seaport town such as New York,
Baltimore, New Orleans, etc., you have a natural as far as newspaper
tieups are concerned. Preview the picture for the ship news reporters.
They undoubtedly will be enthusiastic over the authentic handling
of this film. In New York, for example the various ship news re¬
porters contributed exploitation ideas of their own and helped us
exploit the picture. Regardless of whether your town is an inland city
or a seaport town, your newspaper should publish each day, one of
the unusual feature stories mentioned on page six of this pressbook.
These exciting waterfront accounts make marvelous reading and will
arouse a tremendous interest in advance of the showing of the picture
at your theatre. Be sure that this series of articles run at least six
days previous to the opening of “I Cover the Waterfront and overlap
four days with the run. Furnish the paper with photographs of various
scenes from the picture and in advance publicity stories offer a reward
to anyone who can prove that stories contained in this series are not
authentic occurrences taken directly from actual newspaper records.
Each instalment of the story as published in your local newspaper
should be posted on a display board in the lobby of your theatre so
that the tieup between you and your paper will be brought forcibly to
the movie public’s mind.

"FVE SEEN the blackest scoundrel that
ever lived become the whitest hero
that ever died by giving up his life for
the one man he hated so his daughter
could marry the one man she loved*”

UNITED

ARTISTS

PICTURE

CLAUDETTE

COLBERT

*BEN LYON

ERNEST TORRENCE

Presented by
Joseph M. Schenck

Produced by Ednuard Small

"I COVER THE WATERFRONT"

Comm if N EXT WEEK Starting SATURDAY

your exitdoots sd that ^crowds ijeavlnd the theatre
will see this int^rejsWprtfvbking sign> All of the above
illustrated^silhoueftes taken fjrorti| actual stills
from the picture. Yoj^ can either create your own dis¬
play by blowing up the above illustration to the size
that fits your theatre requirements, <W if you prefer,
we will send you the seven stills whfoch were used to
make up this display. Order these direct from the
United Artists Exploitation Department, 729 7th
Avenue, New York City. The set of seven stills is
priced at 70c per set. These stills are numbered 56,
64, 65, 72, 80, 82 and 122.

Use For Front of House

In order to take advantage of the expense you have
invested in constructing this lobby display, utilize it

of yourl theatre front for the week that the
'i'dt^irfe playy^rour theatre. Irt othef words, after it
e? its putppse as an advan/e teaser on the picture,
then be built into your theatrfe front. In hand¬
ling |it 4or the lobby it is adMisable to put a
skidoo plug behind each one of |the seven illustra¬
tions, these plugs to be so arranged las to go on and
off in a logical sequence.-Thus,! for example, the
figure of Ernest Torrence c/4 thie right will be high¬
lighted and then fade into; darkness, while the on-
rushing boat in the center j§?|tfce dijkplay will jump
into prominence as the light behind it flashes on. The
sides of this display should naturally be masked in
to give you sufficient depth so that if any of the lights
do not work you can move the front of the display,
adjust the electrical connections and replace the
black and white silhouettes; The title and the date of
the opening of the theatre, as shown below the illus¬
trations, should also be prominently lighted so as to
indelibly connect the figures above with the title of
the picture.

OVER. THE|
FATERFRONT

//

I’VE SEEN sharks getting men at sea!...Women
getting men on land!...Fatheads getting tight*
...Redheads getting loose!... Hell popping
nd nobody stopping ... at anything ... to
“get” their woman or “get” their man . . .
down there...on the waterfront!”

UNITED

with

CLAUDETTE

COLBERT

BEN LYON

Ernest TORRENCE

Presented by

JOSEPH M. SCHENCK

Produced by

EDWARD SMALL

From the famous book by Max Miller

nnHB E

I 11—Three Col. Ad (Mat .15; Cut .60)

MARQUEE HANGER To Attract Attention

The above pictured lobby hanger is made of heavy cardboard, die-cut
to shape and printed on both sides. The size is 14 inches in diameter,
punched and strung, ready to hang in lobby, under marquee or strung
around the box-office. They are priced as follows:

1,000. 7c each 100.10c “

500 . 8c “ 50.11c “

250.9c “ 25 12c “

Order these direct from

ECONOMY NOVELTY & PRINTING CO.

239 West 39th Street
New York City

Colortone Slide

PICTURE

On the left is illustrated a spe¬
cial slide which you should use in
advance of the main title on “I
Cover the Waterfront.” It is high¬
ly colored in two sizes, for any
standard equipment. Colored posi¬
tive alone will give excellent re¬
sults and can also be used with un¬
colored negative to obtain greater
depth.

4" x 5"—Colored positive only $2.00

Set (positive and negative) 3.00

3 y 2 " x 4"—Colored positive only 1.50

Set (positive and negative) 2.25

Order by Number N-535 direct from National Studios, Inc., 226 West
56th Street, New York City.

Send remittance with order to avoid parcel post and C.O.D. charges.

Picture Geti The RAVEf/

LOOK UNDER THIS SAIL

If you want to sde the most exciting picture
in town, if youywant to discover the inside
stories whicjv^shock the public, the things
they don't dare to print, if you want to know
where the biggest fish and the fishermen's
prettiest daughters play on the beaches; where
girls wear only a smile -when they swim, then
look under this sail.

DIE-CUT SAIL BOAT WITH
CONCEALED IMPRINT

Above you see illustrated a die-cut card
measuring 3*4" by 6" upon which is fas¬
tened a white paper sail die-cut to shape.
Beneath this sail will be your theatre im¬
print and playdate, including the title of
the picture. This is a very unusual novelty
and especially priced at 500, $4.50; 1,000,
$6.00 per thousand; 3,000, $5.50 per thou¬
sand; 5,000, $5.00 per thousand, and 10,000,
$4.50 per thousand. Order these direct from
Economy Novelty and Printing Co., 239
West 39th Street, New York City.

Book Reviews Unanimous!

One of the most refreshing books I have read
in years.

Harry Hansen,

N. Y. World-Telegram

One of the finest books to appear in many a
month. Let there be no mistake about the unquali¬
fied praise of this review.

Atlanta Journal

This is the sort of book we get too rarely.

Elmer Davis

Sees all he sees with a grand sense of humor
and more than a touch of sympathy.

Columbus Citizen

Very exciting, and a fascinating and different
book.

Buffalo Times

Max Miller on the set with Claudette Colbert,
daring the filming of his book " 1 Cover the Waterfront

Se nd Publicity Mate rial To Li terary Editors
As Well As Movie Page Writers

(3—Max Miller,
Mat 10c.,
Cut 40c.)

Here’s your chance to get a double measure of
well-deserved publicity. In addition to sending your
regular publicity releases to motion picture editors
of local newspapers be sure that you give the liter¬
ary editors a full share of “I Cover the Waterfront”
publicity. A special two-column mat, shown above,
shows Max Miller with Claudette Colbert. This is
a very newsy type of illustration and can Bd planted
on the book page of your leading newspaper. The

book editor previously reviewed the novel and it
might be well for you to invite him to one of the
first showings of the picture. Max Miller himself,
being such a colorful character, his name is an open
sesame to the news editor’s desk. On the next page
you will find a brief biography of Max Miller, author
of “I Cover the Waterfront.” This story should be
planted in conjunction with the above mentioned
illustration.

Claudette Colbert
Fashions

Claudette Colbert is one of the best
dressed feminine stars on the screen. Re¬
production of some of the latest gowns
which she has displayed are available to
department stores and specialty shops. As
soon as you date the picture write direct
to Modern Merchandising Bureau, 36 West
44th Street, who will inform you as to the
stores in the locality of your theatre who
will handle window displays on Claudette
Colbert fashions. It is to your own welfare
to supply these stores with stills taken from
scenes of “I Cover the Waterfront,” to be
used as a background for the fashion dis¬
plays featuring Miss Colbert. All details
of the tieup will be handled by Modern
Merchandising and if there is any particu¬
lar store in your locality that you prefer to
tie up with, use the name of this store in
communicating with them.

Auto Tire Cover

The tire covers on “I Cover the Waterfront”
are made of a strong, durable card so shaped
that they will fit the tire of any standard
| automobile. They will stand up over a long
period of time and will hold their colors and
look smart, despite rough usage. These covers
are made up in two color effect and are start¬
lingly visible for quite a long distance. Place
these on as many automobiles, taxicabs and
other vehicles, at least a week in advance of
your showing so that this flashy moving bill¬
board on “I cover the Waterfront” will be
driven all over your city and let people know
that a smash picture is coming to town. They are priced as follows:
Lots of 10 75c each

Lots of 25 40c “

Lots of 50 33c “

Lots of 100 30c “

Lots of 200 .28c “

There is an additional charge of 15c per cover for hand lettering your
theatre imprint and playdate. Prices are f.o.b.

THE HINSON MANUFACTURING CO.

Waterloo, Iowa

I COVER THE

WATERFRONT

with

CLAUDETTE

COLBERT

BEN LYON

ERNEST TORRENCE

Presented by

JOSEPH M. SCHENCK

Produced by Edward Small

“I’ve seen chinamen smuggled into the
country in the bellies of sharks — and
seen the poor devils thrown overboard
— and drowned — ALIVE — to
destroy evidence.

“I’ve seen everything and DONE
everything — yes, even loved a dame
and shot her father — to get a story
—and I got it—and I’m TELLING it!”

From the famous book by Max Miller

ARTISTS

PICTURE

10—Three Col. Ad (Mat .15; Cut .60)

Sailor Hats

On the left is illustrated
a white linen sailor hat
that makes a perfect tie-
up with the picture since
the waterfront angle goes
hand-in-hand with a sailor
hat of this type. Use these
hats on your ushers the
week previous to the
opening of the picture and as a street ballyhoo
for the kids to wear around towh.

All prices quoted below include imprinting
your theatre playdate in one color on the hat,
as well as the title of the picture.

Prices are as follows:

100 hats

$10.00

250 “

20.00

500 “

30.00

1000 “

50.00

CATCH LINES

The season’s outstanding novel becomes the
year’s outstanding picture.

• • •

I’ve seen the dirtiest man that ever lived
turn into the cleanest man that ever died, that
his daughter, the one woman he loved, might
marry me, the one man he hated.

• • •

James Cruze who created THE COVERED
WAGON, OLD IRONSIDES and other
masterpieces, now tops them all with his latest
directorial effort I COVER THE WATER¬
FRONT.

• • •

I’ve seen everything and done everything.

Yes, even loved a dame and shot her father
to get a story, and I got it, and I’m telling it.

• • •

She struggled loose from his embrace, leaped
off his lap and chidingly said, “I catch on,
you’re a ventriloquist.”

But this time he didn’t give the coastguard
a bum steer. He plunged a long knife into the
unresisting body of the shark and through the
jagged opening came hurtling the semi-uncon¬
scious body of the smuggled Chinaman—and
then Hell broke loose.

Order these direct from Advertising Cap
Company, Inc., 101 Wooster Street, New York
pity.

The inside story of the waterfront — its
drama —its loves, its hates, its hideous strug¬
gles, its beautiful calmness—all shattered by
the conflict of human contraband.

THEATRE BANNERS

A' widely diversified
array of theatre ban¬
ners have been prepar¬
ed on “I Cover the
Waterfront.” You can¬
not secure these at your
United Artists Ex¬
change, but must order
them direct from

Morris Liberman & Co.
729 Broadway
New York City

COVER

. THE -

WATER.

PROMT

Above is illustrated a flag meas¬
uring 8' by 8', unusually attractive,
at $6.50 each.

Directly above
is a canvas
standard
available
in white
on blue,
measuring
28" by 40"
at $1. apiece.

r

7 COYER She „

WATERFRONT

On the left
is a fancy
six foot
valance.

In canvas
it is priced
at $2.40 each
and available
in silkoleen
at $2.75 each.

Unusual Folder of Publicity
Stories Free

In handling so strong a theme as “I Cover the Waterfront” you lift the
picture right out of the realm of ordinary publicity. Here’s a picture that
demands something in the way of research. Will C. Murphy, a reporter
with many years experience, has made an extensive study of newspaper
files and pared down these water front stories, lifting out those of tremen¬
dous interest and excitement which parallel incidents occurring in the
motion picture. These stories are so written that you can plant them in your
local newspaper with ease. They are 1200 to 1500 words each and should be
run in consecutive order so as to give a completeness to this unusual pub¬
licity angle. There are ten instalments of these fascinating waterfront
stories and while in many cases actual names of people famous in the public
eye are mentioned, in some instances, due to the dramatic revelations of
these stories, fictitious names have necessarily been included in this re¬
porter’s revelations. Each story revolves on the angle that it is revealing the
inside story of “I Cover the Waterfront” for the edification of the readers
of the local newspapers. Get your copy free at your nearest United Artists
Exchange or direct from the Exploitation Dept., United Artists, 729 Sev¬
enth Avenue, New York City.

Brief Autobiography of Max Miller

I was born near Traverse City, Mich., February 9th, 1901, which makes
me technically an Easterner. I remained there less than a year, moving
west to Everett, Washington, then was yanked, just in the middle of the
football season, to a ranch my father was trying to develop in Montana,
in the Sitting Bull country, not far from the Canadian border. My first
newspaper work started in the 8th grade, playing baseball during the day
and running over to the office at night, writing about the games. In this way
I, the second baseman, was fairly sure of printed notice in the morning
newspaper, the Everett News. After the war, when universities were lenient
to us veterans, I entered the University of Washington. Worked for the
Seattle Star, then the Seattle Post-Intelligencer. Four years later, in 1923,
I left for Australia on a lumber boat and worked on the Melbourne Herald.
For the Australasian Syndicate, I went south to write about the South Sea
Islands. I bummed around on small vessels and ended up with a frightful
case of malaria. Doctors patched me up and to pay them I did articles for
the N. E. A., while in Seattle and San Francisco; then came to the San
Diego Sun. I have been here almost ever since, except for a trip to China
during the war trouble there in 1927. ‘‘I Cover the Waterfront” is my first
novel.

COVER. THE

and comedy ... the loves ... the
hates ... the fine things and the
stinking things ... of life ... and
women . . . down there on the
Waterfront.”

CLAUDETTE

COLBERT

WATERFRONT

“ I know things they
don’t dare to print.j
I know the drama . . .

14—Two Col. Ad (Mat .10; Cut .40)

I COVER THE WATERFRONT

PUBLICITY SECTION

Claudette Colbert • Ben Lxjon and Ernest Torrence
in T Cover the Waterfront "

2— Two Col. Scene ( Mat .10; Cut .40)

JOSEPH M. SCHENCK

presents

“I Cover the Waterfront”

with

Claudette Colbert

and

Ben Lyon

Directed by JAMES CRUZE

Produced by EDWARD SMALL

A UNITED ARTISTS PICTURE

Bated on the book by MAX MILLER
Screen Play by WELLS ROOT
Additional Dialogue by JACK JEVNE

JULIE . Claudette Colbert

JOSEPH MILLER.Ben Lyon

ELI KIRK. Ernest Torrence

McCOY .Hobart Cavanaugh

ORTEGUS . Maurice Black

OLD CHRIS .Harry Beresford

JOHN PHELPS Purnell Pratt

SILVA .George Humbert

MRS. SILVA . Rosita Marstini

MOTHER MORGAN .Claudia Coleman

RANDALL .:. Wilfred Lucas

Assistant Director. Vernon Keays

Art Director. Albert D’Agostino

Photography .Ray June

Sound Technician .Oscar Lagerstrom

Film Editor .Grant Whytock

SYNOPSIS

Eli Kirk (Ernest Torrence), smuggling a Chinese in his fishing smack, is chased
by a Coast Guard cutter and hurls the Chinese overboard, so that there is no
evidence when the cutter overhauls him. Aboard the cutter, though, is Joseph
Miller (Ben Lyon), a reporter, who promises to "get” Kirk eventually.

The next day, making his rounds, Miller encounters a girl bathing au naturel,
and learns that this is Kirk’s daughter, Julie (Claudette Colbert. She berates him
for looking at her. When she returns home she finds her father in an ugly mood,
and she soothes him, after which he tells her he is thinking of going back to the
South Seas and taking her with him. She knows he is in trouble, but he refuses
to explain what it is.

One day Miller meets Old Chris, a colorful harbor character who ekes out a
precarious living by dragging the harbor for salvage. And that day Chris’s line
brings up a dead Chinese, around whose body is a chain which is identified as
coming from Kirk’s boat.

Kirk, on a spree, barges into "Mother Morgan’s Boarding House,” to which
Miller and McCoy, a tippling reporter, amble a little later. Julie arrives in search
of her father and she and Miller carry him home. The next day Julie and Miller
meet on a dock and the beginnings of love come to them.

Miller is then assigned by his paper to find where Kirk lands his smuggled
Chinese, and when next the Kirk boat pulls in Miller is there with a squad of
Government agents. The boat, which is loaded with giant sharks, is searched but no
evidence is found. Then Miller grabs a knife and slashes open one of the sharks,
revealing a smuggled Chinese. Kirk bursts away, after felling Miller with a terrific
blow from his fist. The Chief Government Inspector shoots Kirk and then grapples
with him, but the smuggler manages to escape.

Julie then learns from her father that Miller had tipped off the Government.
Naturally, she then turns against Miller and wonders how she ever thought 6he
loved him. The reporter learns that Kirk has been taken to a half-submerged barge,
where a Chinese doctor has removed a bullet from his body. He locates Kirk
there, and Kirk shoots him. He is just about to finish the reporter off when Julie
arrives. Kirk then comprehends that Julie is in love with the reporter and, soften¬
ing, helps her to place him in a motorboat, after which Kirks starts a trip into

But he dies at the wheel and Julie has Miller taken to a hospital. Returning
to his apartment, the reporter finds it renovated and "prettified,” as he puts it.
Julie walks in, explaining that she had something to say to him, and that this
was her way of saying it.

Miller takes her into his arms.

Claudette Packs a Real Wallop;

Knocks Out Girl in New Film

Chinese Smuggled in Sharks
Caught Off Ca I ifornia Coast

Modern Jonah Version Adds Dramatic Touch to Filming of “I
Cover the vVaterfront”

Waterfront Star
Scaled Heights
in 10 Years

Claudette Colbert Won First Role
In New York on Chance
Remark

Less than ten years ago Claudette
Colbert was an ambitious young stu¬
dent, with professional acting farth¬
est from her. thoughts.

Today the screen star and former
stage favorite, who currently appears
in Reliance’s romantic thriller for
United Artists, “I Cover the Water¬
front,” with Ben Lyon playing oppo¬
site her and Ernest Torrence heading
the supporting cast, can look back over
a decade that has brought her inter¬
national fame.

A True Cosmopolite

A true cosmopolite, Miss Colbert
was born in Paris, France, and
reared and educated abroad and in
New York, where her family removed
in 1913. After leaving the Washington
Irving High School she enrolled in
the Art League, and it was while she
was a student there that a remark she
made in jest led to a brilliant stage
career and eventual stardom in mo¬
tion pictures.

A guest at a tea in 1924, Claudette
was introduced to Ann Morrison,
playwright. The art student jokingly
asked the author of “Pigs” to put her
in a new play, “The Wild Westcotts,”
then about to be staged. Miss Morri¬
son took Claudette at her word and
arranged for her to play a bit.

Miss Colbert “confessed” to James
Cruze, director of “I Cover the Wat¬
erfront,” and others on the set during
the filming of the picture based on
Max Miller’s best-selling book, that
she white-lied to get her second role
on the stage. Convincing Brock Pem¬
berton that she had several years’ ex¬
perience to her credit, she persuaded
him to cast her as the leading woman
in his production, “The Marionette
Man.”

An Instant Hit

An instant — and a decided — hit,
Miss Colbert thereafter, with the ex¬
ception of the time she appeared in an
all-star revival of “Leah Kleshna,”
always played the leading roles in stage
plays.

Among her Broadway successes
were “The Cat Came Back,” “We’ve
Got to Have Money,” “A Kiss in the
Taxi,” “The Ghost Train,” “The
Pearl of Great Price,” “The Barker,”
which she also played in London; “The
Mulberry Bush,” “La Gringo,” “Fast
Life,” “Tin Pan Alley,” and the Thea¬
ter Guild’s production of Eugene
O’Neill’s “Dynamo.” Her last stage
appearance was in “See Naples and
Die.”

Miss Colbert’s screen debut was in
a silent picture, “Love O’ Mike.”

“The Hole in the Wall” was her
second picture, and then came “The
Lady Lies,” one of the first of the bet¬
ter talking pictures, which spread Miss
Colbert’s fame far and wide.

Successively she won the feminine
honors in productions such as “The
Big Pond,” “Young Man of Manhat¬
tan,” "Manslaughter,” “Honor Among
Lovers,” “The Smiling Lieutenant,”
"Secrets of a Secretary” “His Wom¬
an,” “The Wiser Sex,” “The Mislead¬
ing Lady,” “The Phantom President”
and “The Sign of the Cross.”

Great Versatility

Miss Colbert’s versatility is attested
by the ease with which she jumped
from her role in Cecil B. DeMille’s
Roman-period spectacle to her 1933
characterization in the Edward Small
production “I Cover the Waterfront,”
with its background of high-powered
news gathering, smuggling and mile-
a-minute romance.

The heroine of the picture adapted
from one of the most-talked about
books ever written, is a decided brun¬
ette, with large brown eyes, and is
five feet, five inches in height and
weighs 103 pounds.

In private life she is the wife of
Norman Foster but, as the world
knows, they maintain separate estab¬
lishments, and have ever since their
marriage five years ago.

Miss Colbert’s hobbies are amateur
photography (she develops and prints
her own pictures) collecting jade, tell¬
ing and listening to amusing anecdotes,
reading the better writers, including
poets, and working jig-saw puzzles.

You wouldn’t think, to look at Claud¬
ette Colbert, five feet, five inches in
height and weighing only 103 pounds,
that she has a knock-out punch in her
left hand.

But she has, decidedly, and Holly¬
wood recently discovered the fact
while the star was working in Reli¬
ance’s “I Cover the Waterfront” with
Ben Lyon and Ernest Torrence.

In one of the scenes of the water¬
front picture, adapted from Max Mil¬
ler’s best-selling book, Claudette, as
the fiery daughter of a 1933 swash¬
buckler and smuggler (Torrence), is
supposed to storm into a dock speak¬
easy and drag her inebriated father
from the clutches of his girl friends.

Rehearsing the action in which a
Junoesque blonde, Florence Dudley,

gets Torrence in a champagne-buying
mood and “rolls” him for all his
money, only to be confronted by the
victim’s daughter and slapped all over
the joint, Director James Cruze in¬
structed Miss Colbert to get plenty
rough.

“It’s okay with me to hit as hard as
you can,” interrupted Miss Dudley.
“Let’s get the scene right the first
time. I’ll take a chance.”

“Camera, action,” ordered Cruze.
Miss Colbert and the blonde faced
each other.

Slam ! Bang! Socko !

Claudette had followed the direct¬
or’s instructions. Down went Miss
Dudley—and out, colder than a casting
director’s heart.

Screen actors have found them¬
selves in many strange situations dur¬
ing the filming of pictures in Holly¬
wood’s history, but no assignment' ever
was so bizarre as the experience of
a group of Chinese atmospheric play¬
ers in “I Cover the Waterfront,” Re¬
liance’s romantic thriller for United
Artist's.

They were paid to be modern Jonahs
only instead of whales, they had to
live inside huge sharks.

This fantastic situation, which in
reality is not as fantastic as it sounds,
according to authorities who for years
have been combatting the smuggling
of Chinese into California, was neces¬
sary to fit the story action in the pic¬
ture based on Max Miller’s best-sell¬
ing book, “I Cover the Waterfront.”

Giant Sharks Caught

Ben Lyon, playing opposite Claud¬
ette Colbert, has the role of a reporter
who aids federal men in running down
a gang of pseudo-fishermen, headed by
Ernest Torrence, whose real racket is
smuggling Chinese into the United
States. After landing hordes of the
undesirable aliens under the very
noses of the authorities, the mystery
finally is solved. The Chinese are in¬
side sharks delivered to a fertilizer
factory.

In bringing this action to the screen,
the film company, under the direction
of James Cruze, the man responsible
for “The Covered Wagon,” “Old
Ironsides” and other epical produc¬
tions, cruised the high seas off the
California coast until it encountered
a school of huge sharks.

After a battle lasting for hours, and
while cameras and sound equipment
recorded the action, harpooners suc¬
ceeded in landing several of the mon¬
sters, some of them 25 feet long and
weighing three tons. These “elephant”
sharks are among the largest found
any place on the globe, and this par¬
ticular school was the biggest ever
known in California.

Returning more than 100 miles to
the waterfront location at the port of
Sat; Pedro, where the United States
battle fleet, and the U. S. S. Constitu¬
tion, popularly known as Old Iron¬
sides, added to the “atmosphere,” the
sharks were strung up with the aid of
steel cranes, and the Chinese placed
inside them for some of the climatic
scenes in “I Cover the Waterfront.”

A Nasty Job

Bound hand and foot with chains
(the smugglers, in the story, being
always ready to throw them over¬
board and destroy the evidence in case
of pursuit and capture by U. S. Coast
Guard boats), the Chinese extras were
enabled to breathe by means of a gas
mask contrivance, attached to rubber
tubes running to the operted jaws of
the dead monsters.

Outside of having to burn their
clothes and scrub themselves thor¬
oughly after emulating Jonah, the
Oriental actors suffered no ill effects
as a result of the unique experience.

Fortunately, it was not necessary to
film re-takes, for the Chinese, through
interpreters, insisted: “No want do
again.”

Forced To Burn
Clothes After
Film Scene

Actor Had Dived Into Boatload of
Sun-Baked Fish

Hobart Cavanaugh, former Broad¬
way comedian, who gpt his first big
screen opportunity in Reliance’s “I
Cover the Waterfront,” made such a
strong impression on Director James
Cruze and other members of the com¬
pany during the filming of one scene in
the United Artists’ picture, that he
was ordered to burn his clothes after
the cameras ceased clicking.

The actor was required to fall into
a boatload of dead fish while the com¬
pany was on location at San Pedro,
California. He did—once, twice, thrice.
He made contact with fish of all sizes,
from 25 foot sharks to lowly mackerel.
Some of them had been exposed to the
California sun for several hours.

At the conclusion of the action,
when Cavanaugh had clambered from
the fishing boat up to the dock where
Claudette Colbert, Ben Lyon, Ernest
Torrence and the director were stand¬
ing, he discovered that everybody sud¬
denly had business elsewhere. His
only welcome was from a couple of
cats.

Claudette Swims
in Each Film
It Seems

Miss Colbert Bathes Au Naturel in
"I Cover the Waterfront”

It’s a far cry from a luxurious
Roman bath in milk to swimming au
naturel in the Pacific.

Just ask Claudette Colbert, screen
star, for she was required to go
through both experiences in her two
latest pictures.

After completing the exotic char¬
acterization of the milk-bathing Ro¬
man beauty, Poppaea, in Cecil B. De¬
Mille’s spectacle, “The Sign of the
Cross,” Miss Colbert stepped into the
role of the very-modern Julie Kirk,
daughter of a Pacific Coast smuggler,
in “I Cover the Waterfront," Reli¬
ance’s romantic thriller for United
Artists. Ben Lyon plays opposite her,
and Ernest Torrence has the role of
her father.

In the _ Edward Small production
based on the best-selling book by Max
Miller, Miss Colbert plays a water¬
front girl who dispenses with a bathing
suit when she realLy wants to enjoy an
ocean dip.

When it came time to film the au
naturel scenes, the film company went
on location at a secluded beach behind
a rocky ledge along the southern Cal¬
ifornia coast.

Obviously, Director James Cruze
and his staff, the camera crew and
other members of the company kept a
respectful distance as Miss Colbert and
her maid retreated behind the rocks
to prepare for the scene.

Sliding into the chilly waters, she
took her unconventional dip as cam-
. eras and sound apparatus recorded the
action.

Miss Colbert declared she enjoyed
the experience, but would have liked it
better if it had been summer-time.

New Screen Find

Hollywood is acclaiming a new
screen comedy find, Hobart Cavan¬
augh, as a result of his hilarious per¬
formance in “I Cover the Waterfront,”
Reliance’s romantic thriller for
United Artists, with Claudette Col¬
bert and Ben Lyon in the leading
roles, and Ernest Torrence heading
the supporting cast.

Cavanaugh, for years a Broadway
comedian and stage star in the larger
cities, plays a reporter pal of Ben
Lyon in the picture based on Max Mil¬
ler’s best-selling book and directed by
James Cruze. In casting the Edward
Small production, Cavanaugh was
chosen from among thirty-two Holly¬
wood and New York actors tested for
the. role.

“Scene was great,” yelled Cruze
over his shoulder. “We’re going to
the next dock. The wardrobe man will
give you a new outfit, but be sure to
burn the clothes you’re wearing. You
smell terrible.”

Claudette Colbert in
1 Cover the Waterfront"

4 —One Col. Player Head
(Mat .05; Cut .20)

Campaign Waterfront Film

Torrence First Talkie Star;

Made His Debut 20 Years Ago

Character Actor Confesses During Filming of
“I Cover the Waterfront”

Who was the first talking picture
star ?

No, you’re mistaken, it wasn’t A1
Jolson, or anybody else connected with
the revolutionizing of the screen five
years ago.

To Ernest Torrence, veteran char¬
acter actor of pictures and the stage,
belongs the honor.

And recently, while playing in “I
Cover the Waterfront,” with Claud¬
ette Colbert and Ben Lyon, Torrence
celebrated the twentieth anniversary
of his debut as a talking picture star.

Made in East Orange

That’s correct — twenty years ago
was when he had the distinction of
being the first actor in the world to
star in a screen “talkie.”

On the set at the United Artists’ stu¬
dios in Hollywood, where he was cre¬
ating the role of Eli Kirk, shark-killer
and smuggler of Chinese, in the screen
story based on Max Miller’s best-sell¬
ing book, Torrence took time off to
celebrate the anniversary by telling
James Cruze, director, and other mem¬
bers of the company, about the very
first talking picture.

According to Torrence, the picture,
a short-reeler, was made in a tent at
the East Orange, N. J., laboratories of
the late Thomas A. Edison.

Edison had perfected the “camera¬
phone,” a talking picture device con¬
sisting of a motion picture camera
connected by wires, belts and pulleys
to a recording phonograph. The horn
of the phonograph was directly over
the set, its bell pointed at the players,
a forerunner of the microphone of
today.

While the cameraman turned the
crank of his machine, he simultaneous¬
ly operated the recording phonograph.

Not Bad at All

Barring a few slips, the synchroni¬
zation was fairly good, according to
Torrence, who sang the leading role
in the prison scene from the opera,
“Faust.”

Torrence at that time was a light
opera star and musical comedy favor¬
ite. It was soon after he came to the
United States after winning laurels
abroad.

Not until ten years later was Tor¬
rence to make his silent picture debut,
as the villainous mountaineer in “ToP-
able David,” a role that won him
world-wide fame and never-to-be-
forgotten characterizations in future
productions such as “The Covered
Wagon,” “Ruggles of Red Gap,” “The
Pony Express,” “Peter Pan” and “The
Fighting Coward.”

New Photo Crane
Overcomes Big
Problems

Wind and Surf Defeated in
“I Cover the Waterfront”

Solving the problem of how to film
some of the thrilling scenes in “I
Cover the Waterfront” while the cam¬
era boats were pitching and rolling on
the high seas, technicians on the staff
of Director James Cruze perfected a
new type of gyroscopic tripod and mi¬
crophone crane that permitted perfect
photography and sound recording
under the most difficult conditions.

The Reliance Company, bringing the
adaptation of Max Miller’s best-sell¬
ing book to the screen for United Ar¬
tists, with Claudette Colbert, Ben Lyon
and Ernest Torrence in the principal
roles, spent considerable time on loca¬
tion in the ocean off San Diego, San
Pedro and Monterey, California. If
was at the latter place that the motion
picture outfit, cruising in the hope of
finding a couple of sharks to fit the
story action, ran into a whole school of
the sea terrors, some of them 25 feet
long and weighing nearly three tons.

Harpooners went into action, with
cameras trained on them, and killed
several of the monsters after a battle
lasting for hours. The giant beasts,
known among fishermen as “elephant”
sharks, are extremely rare in Califor¬
nia waters. Ranked among the largest
sharks found any place in the world,
they usually remain in isolated north¬
ern waters.

The film company’s luck in encoun¬
tering a whole school of the monsters
resulted in bringing to the screen the
most thrilling scenes of their kind
ever made.

A Champion Spitter

Of all things—a champion spitter!
If there’s any honor to such an attain¬
ment, Ernest Torrence can lay claim
to it in Hollywood. He won his new
laurels in “I Cover the Waterfront,”
the United Artists’ thriller.

One of the scenes demanded that
Torrence put out Ben Lyon’s cigarette
with a well-aimed squirt of masticated
navy plug. He used up three plugs, but
he did if.

Burr McIntosh,
Idol of '90's
Still Active

Former Matinee Favorite Hale and
Hearty in His 70’s

One of the stage’s greatest matinee
idols of the gay nineties plays a minor
role in Reliance’s romantic thriller for
United Artists, “I Cover the Water¬
front,” an adaptation of the best-sell¬
ing book by Max Miller, with Claud¬
ette Colbert and Ben Lyon in the lead¬
ing parts, and Ernest Torrence head¬
ing the supporting cast of the Edward
Small production directed by James
Cruze.

He is Burr McIntosh, veteran char¬
acter actor, who these days makes in¬
frequent appearances on the screen
and philosophizes over the radio.

Grandfathers and grandmothers will
remember him as a dashing stage fig¬
ure of another generation, and Burr
McIntosh is a name to conjure with in
reminiscences of old-time athletes.

Born in Wellsville, Ohio, during the
early days of the Civil War, McIntosh
was educated at the University of
Pittsburgh, Lafayette College and
Princeton University. He was one of
the greatest all-around athletes of the
eighties, starring in varsity track
events, football and baseball.

During his stage career he starred in
scores of plays, and since entering pic¬
tures in 1913, has played hundreds of
roles. One of his outstanding charac¬
terizations was in D. W. Griffith’s
“Way Down East.”

Although now in his seventies, Mc¬
Intosh is as alert as ever, and physi¬
cally, with sis six feet and 220 pounds
of brawn, is a match for most men
half his age.

CLAUDETTE COLBERT

Facts and observations on Claud¬
ette Colbert, gleaned on the set at the
United Artists studios in Hollywood,
from her maid, friends and fellow
players, during the filming of “I Cover
the Waterfront,” Reliance’s romantic
thriller adapted from the best-selling
book by Max Miller :

She has a delightful sense of hu¬
mor, a gorgeous figure, a constant' de¬
sire to travel, a perfect taste in clothes
and- a habit of making friends in all
walks of life.

Likes Spinach

She likes spinach, upside down cake,
to go fast in motor cars, and old-fash¬
ioned perfumes._

Her chief extravagance is in cater¬
ing to her passion for handmade un-
derthings, sheer stockings and Irish
linen handkerchiefs.

She sings in her bath.

She likes the gossipy jokes of news¬
paper columnists, the better poetry,
newspapers editorial writers’ comments
on national affairs and caramel cus¬
tard.

She’s a bit timid around horses, and
rides frequently for this reason.

She delights to talk of the-time she
made a lazy trip around the world on
cargo ships, by camel pack and air¬
planes.

She’s amazingly fast at assembling
jig-saw puzzles.

Her Favorites

Of her pictures, she likes best her
parts in “The Lady Lies,” “The Sign
of the Cross” and “I Cover the Water¬
front.”

Her favorite actors are Charlie
Ruggles, Ben Lyon (he plays opposite
her in “I Cover the Waterfront”) and
Norman Foster (her husband).

Her favorite color is blue, she ad¬
mires the way taxi drivers handle their
cars in traffic on a rainy day, and she
loathes fishing.

She has no illusions about the stage
or the acting profession, and quite
frankly admits she works only because
she has found no other way to make a
living.

She’s an expert photographer and
develops and prints her own pictures,
but has no pictures on the walls of
her home.

She collects jade, amusing anec¬
dotes, perfume bottles and scarf clasps.

Is Superstitious

She is a victim of every stage super¬
stition—and a few she thought of by
herself.

She never leaves a building except
through the door by which she en¬
tered (even on the afternoon the earth¬
quake struck Southern California
while “I Cover the Waterfront” was
in the midst of filming).

She is one of the few brown-eyed
stars of the first-rank.

Claudette Colbert and Ben Lijon
inT Cover the Waterfront'

5 —One Col. Scene (Mat .05; Cut .20)

BEN LYON

Ben Lyon was born in Atlanta, Ga.,
on a certain February 6. He is of
German-English descent. Moved to
Baltimore and thence to New York.
On his way to school in New York he
went into a studio and watched pic¬
tures being made. Asked a man who
happened to be the director how he
should go about' getting in the movies.
The director looked at him a minute
and told him to report the next day.

He played extra roles in. pictures
without getting very far. So he tried
the stage. First important stage role
was in “Seventeen”; then played with
Jeanne Eagles in “The Wonderful
Thing.” Other plays followed, his
favorite role being in “The Boomer¬
ang.”

Prefers the screen to the stage be¬
cause of the opportunity for home life.
Favorite screen role was in “Hell 3
Angels.” Favorite picture was “Blue¬
beard’s Seven Wives.” It' is his pres¬
ent ambition to become a motion pic¬
ture director. Or, failing that, to enter
some phase of aviation.

Is whole-heartedly in favor of do¬
mesticity. Was married to Bebe Dan¬
iels June 14, 1930. The present boss of
the home is Barbara Bebe Lyon, born 2
years ago.

The Lyon-Daniels library is one of
the handsomest rooms in their home.
Ben enjoys reading Jack London, Jos¬
eph Conrad, De Maupassant and Rob¬
ert Burns. Also likes the humor of
Robert Benchley and the topical writ¬
ings of O. O. McIntyre and Arthur
Brisbane.

He is six feet tall and weighs 155
pounds. Has dark brown hair and
blue-grey eyes.

ERNEST TORRENCE

Few movie fans are aware that Er¬
nest Torrence, who plays with Claud¬
ette Colbert and Ben Lyon in “I Coyer
the Waterfront,” the United Artists
picture, was famous as a concert pian¬
ist and was a musical comedy star
prior to his debut in pictures.

Audiences all over the world are
familiar \vith Torrence’s six feet, four
inches of height and his 220 pounds of
weight, but only a few know that he
once sang in opera. One reason, of
course, is that he seldom talks about
himself.

Ernest Torrence was born in Edin¬
burgh, Scotland, and after elementary
school education attended the Edin¬
burgh Academy of Music. From there
he went to the Conservatorium in
Stuttgart, Germany, and the Royal
Academy of Music in London.

His professional career started as a
concert pianist. Later he took up sing¬
ing, his forte being baritone, and in
1900 he won a Royal Academy medal
for operatic work. The next year he
became the leading baritone of the
Savoy Opera Company in England.
An English musical comedy producer
sought him out and talked figures
which Torrence couldn’t afford to turn
down. Thence he became a star and
finally landed on Broadway.

It was while he was appearing in
New York in “The Night Boat” that
the movies sought him out. And he
made his debut as the villainous moun¬
taineer in “Tol’able David,” one of the
greatest so-called “heavy” roles the
screen has ever seen. Following one
or-two smaller pictures, he again
climbed to the heights as the giant
scout in “The Covered Wagon.” And,
incidentally, James Cruze, his present
director, handled that masterpiece.

In recent years Torrence has played
a score of diversified roles, sometimes
sinister, sometimes comic, but always
convincing. His main hobby is, of
course, music, and he also likes golf
and Scottish Terriers. He is married
and has a son who aspires to follow his
father’s footsteps.

Sea-Going Cowboy Ropes
Whale and Drags it to Shore

"I Cover the Waterfront” Company Witnesses Unprecedented
Capture in Pacific

A “sea-going cowboy’s” unique expe¬
rience was added the other day to the
strange chapters in the bizarre annals
of a Pacific Coast port.

It happened during the making of
“I Cover the \. aterfront,” romantic
thriller of the screen based on Max
Miller’s best-selling book, with Clau¬
dette Colbert, Ben Lyon and Ernest
Torrence in the principal roles of the
Edward Small production for United
Artists directed by James Cruze.

Lassoes a Whale
The film company, which already
had succeeded in harpooning several
huge sharks, from 19 to 25 feet in
length and weighing from two to three
tons each, was on the lookout for
other unusual “atmosphere,” when
Carl Leonard, a ship’s carpenter of
San Pedro, Cal., did something that
there is no record of anybody else ever
doing in the history of the world.
Leonard lassoed a whale!

Fishing from a skiff in the channel be¬
tween San Pedro and Catalina Island,
Leonard first glimpsed the whale chas¬
ing a school of fish. With each gulp
of his meal, the whale’s tail flew out of
the water. Leonard, accustomed to
thinking fast when the unexpected
happened during a career on the seven
seas, fashioned a lariat of the skiff’s
painter, gave it a whirl in approved

cowboy style, and dropped it over the
whale’s tail. A moment later Leonard
and the whale were racing at express-
train speed. After an hour’s battle, the
whale tired sufficiently to permit Leo¬
nard to maneuver toward shore, where
in shallow waters and with the aid of
spectators who had witnessed the feat
through binoculars, the mamal was
killed..

Goes to Science

It proved to be a youngster, only
about nine months old, of the “Blue”
variety, fifteen feet long and weighing
half a ton.

In the meantime, Dr. A. Elmer Belt,
Los Angeles specialist, had read of the
fare catch, and he requested custody of
the carcass for scientific experiments.

Science also displayed keen interest
in the harpooning of several huge
sharks during the filming of scenes in
“I Cover the Waterfront.” A whale
school of these monsters was encoun¬
tered by the motion picture company in
the open sea off Monterey, California.

This particular type of shark is one
of the largest found any place in the
world and is rare in California waters.

The Los Angeles Museum of His¬
tory, Science and Art put in a bid for
specimens as soon as the success of the
“I Cover the Waterfront” company
became known.

Aliens Smuggled 66 Champ Spitter
Inside Sharks Torrence’s New

Like Jonah Title

Chinese Actors Portray Unwel¬
come Roles in “I Cover
the Waterfront”

Screen actors have found themselves
in many strange situations during the
filming of thousands of pictures in
Hollywood’s history, but no assign¬
ment was so bizarre as the experience
of a group of Chinese atmospheric
players in “I Cover the Waterfront,”
Reliance’s romantic thriller for United
Artists.

They were paid to be modern Jonahs,
only instead of whales, they had to live
inside huge sharks!

This fantastic situation, which in
reality is not as fantastic as it sounds,
according to authorities who for years
have been combatting the smuggling
of Chinese into California, was neces¬
sary to fit the story action in the pic¬
ture based on Max Miller’s best-sell¬
ing book, “I Cover the Waterfront.”

Caught Huge Sharks

Ben Lyon, playing opposite Claud¬
ette Colbert, has the role of a reporter
who aids Federal men in running
down a gang of pseudo-fishermen,
headed by Ernest Torrence, whose
real racket is smuggling Chinese into
the United States. After landing
hordes of the undesirable aliens under
the very noses of the authorities, the
mystery finally is solved. The Chinese
are inside sharks delivered to a fertil¬
izer factory.

In bringing this remarkable action
to the screen, the film company, under
the direction of James Cruze, the man
responsible for “The Covered Wagon,”
“Old Ironsides” and other epical pro¬
ductions, cruised the high seas off the
California coast until it encountered a
school of huge sharks.

After a battle lasting for hours and
while cameras and sound equipment
recorded the action, harpooners suc¬
ceeded in landing several of the mon¬
sters, some of them 25 feet long and
weighing three tons. These “elephant”
sharks are among the largest found
any place on the globe, and this par¬
ticular school was the biggest ever
known in California.

Returning more than 100 miles to
the waterfront location at the port of
San Pedro, where the United States
battle fleet, and the U. S. S. Constitu¬
tion, popularly known as Old Ironsides,
added to the “atmosphere,” the sharks
were strung up with the aid of steel
cranes, and the Chinese placed inside
them.for some of the climatic scenes
in “I Cover the Waterfront.”

Artificial Breathing

Bound hand and foot with chains
(the smugglers, in the story, being
always ready to throw them overboard
and destroy the evidence in case of
pursuit and capture by U. S. Coast
Guard boats), the Chinese extras
were enabled to breathe by means of a
gas mask contrivance, attached to rub¬
ber tubes running to the opened jaws
of the dead monsters.

Outside of having to burn their
clothes and scrub themselves thorough¬
ly after emulating Jonah, the Orien¬
tal actors suffered no ill effects as a
result of the unique experience.

Fortunately, it was not necessary to
film re-takes, for the Chinese, through
interpreters, insisted: “No want do
again.”

Actor, Playing Role of Old Salt,
Does Wonders With
Tobacco Juice

Of all things—a champion spitter!

If there’s any honor to such an at¬
tainment, Ernest Torrence can lay
claim to it in Hollywood.

The screen personality, who, in pri¬
vate life is a cultured gentleman, a dis¬
tinguished figure in any drawing room,
a fine pianist and a champion of good
manners, was required to become an
expert spitter for his hard-boiled char¬
acterization in “I Cover the Water¬
front.”

Well-Aimed Squirt

One of the scenes in the romantic
thriller based on Max Miller’s popular
book, demands that Torrence put out
Ben Lyon’s cigaret with a well-aimed
squirt of masticated navy plug. Tor¬
rence plays a fisherman, and Lyon a
reporter who finally exposes him as
smuggler of Chinese. In the screen
story, Torrence is a resourceful old
villain who conceals the Oriental
Jonahs inside 25-foot sharks to get
them into the United States. When
customs men chase him into a tight
spot, he wraps the human contraband
in iron chains and dunks them in the
Pacific Ocean.

The spitting incident didn’t particu¬
larly appeal to Torrence, but a story’s
a story, a villain’s a villain, and a job’s
a job, and the veteran actor was too
good a trouper to take issue with
James Cruze, directing the United
Artists’ picture.

Became Proficient

Torrence used up three slabs of
navy plug before he got confidence
enough to try a cigaret in Lyon’s hand
as a bulls-eye. The scene was made
three times before the right effect was
achieved. The wind interfered with
Torrence’s aim on one occasion, and
Lyon moved the cigaret out of target
range the second time. The third at¬
tempt was ruled perfect. Lyon himself
was untouched, but his overcoat had to
go to the cleaners.

Incidentally, it was one scene that
Claudette Colbert, who plays the chief
feminine role in “I Cover the Water¬
front,” did not care to see filmed.

REAL TOUGH GUY

When the producers of "I Cover
the Waterfront,” Reliance’s romantic
thriller for United Artists, sought an
actor to play a particularly tough
character, they chose a man who for
years lived just as “hard” a life as the
screen types he portrays.

He is A1 Hill, whose career reads
like the wildest of fiction. He knows,
intimately, tfrfc underworlds of most
of the world capitals, and by his own
published admissions, has seen the in¬
side of jails as guest of the authori¬
ties. He has written two books, “Jail
bird,” and “Easy Pickings,” which
have been pronounced among the
most amazing human documents of the
twentieth century.

Here’s the Season’s Most Unusual

Cruze Poison to Villains
Before He Became a Director

Former Actor is Now One of The Greatest Megaphone Wielders
in Hollywood

The fact he is invariably included
in any list of motion picture “immor¬
tals” does not impress James Cruze,
who insists “you’re as good as your
latest production,” and let’s it go at
that.

Cruze, responsible for the direction
of Reliance’s romantic thriller, “I
Cover the Waterfront,” for United
Artists, with Claudette Colbert, Bert
Lyon and Ernest Torrence in the lead¬
ing roles of the screen story adapted
from Max Miller’s best-selling book,
has been a prominent figure in the film
industry since the early days.

Started as Actor

Born in Ogden, Utah, he was a stage
actor in his youth, trooping with
Shakespearian and stock companies
and medicine shows. One of his roles
in his footlight days was in “The
Heart of Maryland.”

Sensing the future importance of
pictures as a means of playing to an
unlimited audience, Cruze left the
stage to become leading man for the
old Tannhauser company, then mak¬
ing “canned dramas,” in New Ro¬
chelle, N. Y. From Tannhauser he
went with Pathe as leading man, and
then to Paramount.

Seeking a wider outlet for his abili¬
ties, he became a director and sky¬
rocketed to international fame with
productions such as “The Old Home¬
stead,” “The Covered Wagon,” “The

Goose Hangs High,” “The Pony Ex¬
press,” “Merton of the Movies,” “The
Enemy Sex,” “Beggar on Horseback,”
“Ruggles of Red Gap,” “Old Iron¬
sides,” “To The Ladies,” “The Fight¬
ing Coward,” “Hollywood,” “One
Glorious Day” and other silent pic¬
tures that made history.

His talking pictures include “The
Great Gabbo,” “Once a Gentleman,”
“She Got What She Wanted,” “Com¬
mand Performance,” “Salvation Nell,”
“Racetrack,” “Sailor Be Good,” and
“Washington Merry Go Round.”

A Fast Worker

Cruze is a practical craftsman who
knows what he wants and gets it. He
detests “yes-men”—and “Yes-Wom¬
en”—on and off the set, and never gets
flustered whether he’s directing a scene
with several thousand persons and a
flock of stars, or a couple of atmos¬
pheric players. He is one of the fastest
working directors. His only eccentri¬
cities are his penchant for floppy white
caps, which he buys by the dozen, and
his refusal to be photographed. He
contends the public is interested only
in the people they see on the screen,
not the ones behind the scenes.

A giant of a man, well over six feet
in height and enormously strong,
Cruze’s principal hobby is growing
flowers and rare plants. He is an au¬
thority on horticulture.

Colbert Bungalow Shimmies
When Quake Hits California

Ben Lyon Volunteers With His Air Squadron for Emergency
Relief Work

Terrifying action not in the script
marked the filming of a scene in Re¬
liance’s “I Cover the Waterfront,”
when the Southern California earth¬
quake struck during the height of pro¬
duction on the romantic thriller
adapted from Max MilleFs best-sell¬
ing book.

Ben Lyon, who shares acting honors
in the picture with Claudette Colbert
and Ernest Torrence, was in bed in
a hospital setting at the United Ar¬
tists’ studios, when the temblors rocked
Hollywood. A moment later he was
picking himself off the floor of the
sound stage.

All Dashed for Exits

Director James Cruze and his staff,
cameramen and sound men remained
on the job until lights and power went
off, then dashed for exits.

Miss Colbert ran from her portable
dressing room, which was doing a
shimmy.

Hobart Cavanaugh, a member of the
supporting cast, who had gone through
the San Francisco earthquake and fire
of 1905, yelled: “Stay inside.” His ad¬

vice was right, for later it was learned
that most of the casualties in Long
Beach, Compton and other communi¬
ties hardest hit by the quake resulted
when panic-stricken citizens rushed
out of doors and were struck by brick
and ornamental stone work.

The United Artists and other Holly¬
wood studios were undamaged, and
filming of “I Cover the Waterfront,”
was resumed in a short time, although
Lyon immediately volunteered and was
subject to call any time for duty in
the stricken areas.

Lyon Volunteers

The actor, who plays a reporter in
“I Cover the Waterfront,” is an offi¬
cer in the 322nd Pursuit Squadron of
the U. S. Air Corps Reserve, Long
Beach, the outfit of which his wife,
Bebe Daniels, is Honorary Colonel.

Lyon placed his new cabin cruiser,
one of the most modern planes on the
Pacific Coast, at the disposal of the
authorities for any purpose it might be
needed in connection with the earth¬
quake relief work.

Actor Gets Atmosphere

When Purnell Pratt, veteran of
forty talking pictures and hundreds of
stage roles, was signed for the role of
a newspaper editor in the United Ar¬
tists’ thriller, “I Cover the Water¬
front,” he spent several days in the
city room of a morning daily to fa¬
miliarize himself with the real atmos¬
phere of his role.

Purnell had played newspaper men
before, but he wanted to be sure he
hadn’t grown rusty. One of Holly¬
wood’s most dependable character
actors, Pratt supports Claudette Col¬
bert, Ben Lyon and Ernest Torrence
in the Edward Small production for
United Artists. “I Cover the Water¬
front,” adapted from Max Miller’s
current best-seller, was directed by
Tames Cruze.

Claudette Colbert and Ben Lijon
in” I Cover the Waterfront

6— One Cot. Scene ( Mat .05; Cut .20)

Radio Rounds Up
Actor Missing
in Studio

Player in “I Cover the Waterfront”
Had Gone for Drive

Radio came to the aid of Hollywood
in finding a “lost” actor during the
filming of “I Cover the Waterfront,”
Reliance’s romantic thriller for United
Artists, with Claudette Colbert and
Ben Lyon in the leading roles of the
screen story adapted from Max Mil¬
ler’s best-selling book.

Hobart Cavanaugh, who shares
chief supporting honors in “I Cover
the Waterfront,” with Ernest Tor¬
rence, left the studio one noon under
the impression he was not needed for
a couple of days.

When James Cruze got ready to
direct a scene with Miss Colbert, Lyon,
Torrence and Cavanaugh, the latter
was no place to be found. Telephone
calls and visits of studio representa¬
tives to Cavanaugh’s home and his
other Hollywood haunts failed to lo¬
cate him.

Tames Cruze, directing the Edward
Small production, appealed to KMTR,
radio broadcasting station affiliated
with United Artists. Within a few
minutes calls for Cavanaugh were go¬
ing out on the air all over Southern
California.

Cavanaugh, whose car is equipped
with a radio, happened to turn the dial
as he was driving along an ocean high¬
way 30 miles from Hollywood, when
he heard the message from the studio.

Luckily, he did not encounter any
traffic patrolmen as he flirted with
speed regulations on his way back to
the studio, where Cruze and his aides
were preparing to rearrange the pic¬
ture’s entire shooting schedule if Cav¬
anaugh could not be located within the
next hour.

Claudette Colbert and Ernest Torrence- in.
" I Cover the Waterfront"

1 —Two Col. Scene (Mat .10; Cut .40)

New United Artists Producers

Make Bow in Waterfront Film

Reliance Pictures, Inc., Organized by Harry M. Goetz
and Edward Small

A new Hollywood producing or¬
ganization, releasing through United
Artists, makes its bow under auspi¬
cious circumstances with the smash hit
picture, “I Cover the Waterfront',” an
adaptation of Max Miller’s best-selling
book, with Claudette Colbert, Ben
Lyon, Ernest Torrence and other per¬
sonalities in the cast.

The new name to reckon with in
the film world is Reliance Pictures,
Inc., which is headed by two veterans
of the entertainment world, Harry M.
Goetz and Edward Small.

Both Veterans

Goetz, making his headquarters in
New York, is president and treasurer
of the new organization, while Edward
Small, in active charge of production
at the United Artists studios in Holly¬
wood, is vice-president, secretary and
general manager.

Both Goetz and Small have been
prominent for years in the picture in¬
dustry. Goetz formerly was assistant
treasurer and comptroller of produc¬
tion at Paramount. He. established the

first Warner Brothers film exchanges
and was a leader in the distributing
and sales end of the picture business.

Small for years has been one of
Hollywood’s most consistent produc¬
ers of successful pictures. He pro¬
duced a dozen pictures for First Na¬
tional release and many others that
have gone down in annals of the in¬
dustry as outstanding box-office hits.

Claudette Colbert in Lead

For the first Edward Small produc¬
tion under the United Artists banner,
the Reliance Company recruited
Claudette Colbert, Ben Lyon and Er¬
nest Torrence as the leading players
and James Cruze as the director, Ray
June, “ace” Hollywood photographer,
as chief of the camera battery and
Wells Root as author of the screen
play.

Future production plans of the Re¬
liance organization include the filmiza-
tion of “Shanghai Gesture,” one of
the most sensational stage successes
of modern times.

Wanderwell Murder Yacht, Carma ,

Shown in New Waterfront Picture

Young Captain Recently Met Death in Baffling
California Mystery

Several of the night sequences in “I
Cover the Waterfront,” romantic
thriller of the screen adapted from the
best-selling book by Max Miller, were
filmed against a background of scores
of ships and other craft moored
along the docks at San Pedro, Calif.

One of the boats riding at anchor
in the eerie atmosphere while cam¬
eras clicked out climatic story action
of a master smuggler brought to bay
by government officers, with the dis¬
covery of Chinese being brought into
the country in the stomachs of giant
sharks, was the yacht, Carma, which
had figured in a murder mystery as
baffling as any motion picture thriller.

It was aboard the Carma that its
master, Captain Walter Wanderwell,
leader of a band of world adventurers,
including an English lord, was shot
to death just before filming was
launched on “I Cover the Waterfront,”
in which Claudette Colbert, Ben Lyon
and Ernest Torrence play the leading
roles.

The murder remains one of Cali¬
fornia’s most famous unsolved mys¬
teries, although a former member of
the expedition was tried for the crime
and acquitted.

During the filming of night scenes in
the vicinity of the Carma, an excitable,
imaginative member of Director James
Cruze’s staff thought he heard ghostly
noises coming from the murder yacht,
but investigation proved them to be
echoes from the sound-recording ap¬
paratus.

Fate Is Fickle

Fate, as far as Ben Lyon is con¬
cerned, depends upon which street you
walk through on your way to work.
Ben, who is co-featured with Claud¬
ette Colbert in “I Cover the Water¬
front,” the United Artists romantic
thriller, was on his way to work in
New York one day when he happened
.to pass a motion picture studio upon
which hung a sign announcing that
“Extras” were needed.

The kid walked in — he was very
young then — and he has been at the
business ever since.

Stars Get Kick
From Amateur
Photography

Claudette Colbert and Beh Lyon Most
Proficient in Hobby

Some of Hollywood’s stars get' a
bigger kick out of photographing
somebody or something than of being
photographed.

They think it’s a lot more exciting
to stand behind a camera instead of in
front of one.

The most rabid “photo fiends”
among the stars are Claudette Colbert,
Leslie Howard and Ben Lyon. They
ride their hobby to the extent of de¬
voting all their spare time to study of
photographic art, snapping thousands
of pictures annually, and maintaining
elaborate dark rooms, developing, re¬
touching and printing quarters in their
own homes.

Miss Colbert and Lyon, teamed in
“I Cover the Waterfront,” had ample
opportunity, while they were working
in Reliance’s romantic thriller for
United Artists, to make extensive ad¬
ditions to their private collections of
photographic art.

On location and in the studio during
the filming of the screen story based on
Max Miller’s best-selling book, Claud¬
ette and Ben vied in seeing which one
could make the most unusual shots.
They carried personal cameras with
them wherever they went. Whenever
they were missing from the set, it was
safe to assume they were some place
in the vicinity, figuring out unique
angles, unusual subject matter or the
use of a new camera gadget.

Once, when Director James Cruze
was all ready to start a scene at color¬
ful Fish Harbor, San Pedro, Califor¬
nia,. Lyon was discovered perched high
up in the rigging of a schooner, shoot¬
ing down at the motion picture cam¬
era battery on the dock location, with
Miss Colbert on the deck of a small
fishing boat, photographing up at
Lyon.

Picture

Lucas Appeared
in More Than
1,000 Films

Veteran Started 26 Years Ago

With Old Biograph Company

Few actors any place in the world
can even approach the record of Wil¬
fred Lucas, veteran of more than 1000
pictures, who plays an important role
in “I Cover the Waterfront,” Reli¬
ance’s romantic thriller for United Ar¬
tists, with Claudette Colbert, Ben
Lyon, Ernest Torrence and other per¬
sonalities featured in the screen story
based on Max Miller’s best-selling

book. It will be seen at the_

theatre on.—

Since 1907, when many of the screen
luminaries of today were yet unborn,
Lucas has faced the cameras for most
of the important companies in Amer¬
ica and abroad. For years he was a
star in his own right, and has sup¬
ported practically every star of the
past quarter century.

Lucas’ characterization in “I Cover
the Waterfront,” an Edward Small
production directed by James Cruze,
permitted him to take over “command”
for two days, of a United States
Coast Guard cutter which figures in a
spectacular chase of smugglers on the
high seas.

A native of Ontario, Lucas was edu¬
cated at McGill College, Montreal, and
later studied art and music in London
and Paris. After achieving popularity
on the stage, Lucas was one of the first
established actors to associate with an
infant art that his fellow thespians
scoffed at. It was twenty-six years ago
that he started with the old Biograph
Company, which schooled Mary Pick-
ford, D. W. Griffith and others who
were to make film history.

“Old Ironsides”
Shown in New
Picture

Historic Frigate Photographed in
“I Cover the Waterfrot”

The visit of the U. S. S. Constitu¬
tion, popularly known as Old Iron¬
sides, to San Pedro, Cal., while the Re¬
liance Company was on location in the
same harbor, filming “I Cover the
Waterfront,” for United Artists, had a
particular significance to James Cruze,
director of the picture.

For it was Cruze who several years
ago directed a picture titled “Old Iron¬
sides,” using a replica of the historic
United States fighting ship in filming
the production. At that time, Cruze
and a company of thousands spent sev¬
eral months off Catalina Island, near
the California coast, bringing a story
woven around “Old Ironsides” to the
screen..

By a coincidence, Cruze was direct¬
ing “I Cover the Waterfront,” with
Claudette Colbert, Ben Lyon and Er¬
nest Torrence in the principal roles,
along the docks at the port of Los
Angeles, when the original Old Iron¬
sides arrived for a twenty-one day
stay.

As soon as the public was per¬
mitted to inspect the famous frigate,
Cruze was one of the first aboard, with
Miss Colbert, Lyon, Torrence and
other members of the “I Cover the
Waterfront” company in his party.
They spent two hours sight-seeing on
the vessel that has played such a prom¬
inent part in American history.

During Old Ironsides’ stay at San
Pedro, it was visited by nearly a half
million persons, many of whom took
advantage of the opportunity to also
watch “I Cover the Waterfront,”
based on Max Miller’s popular book,
being filmed while they were in the
harbor district.

Claudette Colbert and Ernest Torrence
in 1 Cover the Waterfront"

7 —One Col. Scene (Mat .05 ; Cut .20)

Order Blank

"I COVER THE WATERFRONT"

Let These Lobby Cards Draw The Crowds

To Your Theatre

There’s real showmanship urge to these vividly colored lobby
accessories. The contrasting color schemes lift the 11 x 14’s,
22 x 28’s and the 14 x 36 card right out of the ordinary groove.
Interesting highlights of "I Cover the Waterfront” are illustrated
in eye-arresting fashion. Provocative scenes and romantic moments
are skillfully woven into these lobby decorations.

Local merchants will be more than eager to display these cards
in their windows. They are ever on the lookout for really novel

material to attract the attention of the passersby. Be sure your
theatre imprint and play date are featured prominently in this
connection.

For more than a week previous to your opening date of ”1 Cover
the Waterfront” these accessories should decorate your lobby.
They will create advance teaser interest and tie in directly with
the ads you run in the newspaper ahead of opening days. Remem¬
ber these lobbies create a flash that you can translate into cash.

Send to:

Manager.

Town.State..

HOW MANY

POSTERS

(Quantity Prices For Each Picture Only)

AMOUNT

.. 1

Sheets

@

15c

each

(1 to 50)....

@

13c

each

(51 to 100)

@

11c

each

(over 100)..

.. 3

Sheets

@

40c

each

(1 to 10)....

@

36c

each

(11 to 25)-

@

33c

each

(26 to 50)..

@

30c

each

(51 to 100)

.. 6

Sheets

@

75c

each

(1 to 10)....

@

70c

each

(11 to 25)..

@

60c

each

(26 to 50)..

..24

Sheets

@

2.00

each

(1 to 25)-.

@

1.75

each

(over 25) —

W I i

N D <

O W

CARDS

7c each
6c each
5c each

(1 to 50).

(51 to 100)..
(over 100) ..

INSERT CARDS

@ 25c each (1 to 25).

@ 22c each (26 to 50).

.. @ 20c each (51 to 100).

.. @ 18c each (over 100) ...

HERALDS

..M @ $3.00 per M (lM to 5M)..

..M @ $2.75 per M (over 5M).

..M @ $2.50 per M (over 10M)....

PHOTOS

Set 11x14s @ 75c per set...

(8 in set—Colored)

Set 22x28s @ 80c per set...

(2 in Set—Colored)

Stills 8x10—10c each.

MISCELLANEOUS

Slide @ 15c each.....

Mats @ 5c per Col.—.

Cuts @ 20c per Col.....

Press Books Gratis...

(These Prices Apply to JJ. S. Only)

TOTAL

TELL THE PUBLIC ABOUT YOUR SHOW

Apply at your nearest United Artists Exchange for CUTS and MATS.

Exhibitors duly licensed to exhibit the
picture mentioned herein are authorized to
use the advertising material and ideas con¬
tained in this book solely for the purpose
of exploiting the picture named herein and
for no other purpose. The use of such ad¬
vertising material and ideas by all other
persons is prohibited. Any infringement of
this registered copyright will be prosecuted
under the law.

Copyright MCMXXXIII, by United Art¬
ists Corporation, New York, N. Y.

(Title Card)

The Exhibitors' Service Department of the
UNITED ARTISTS CORPORATION
wants to cooperate with you
If there is any additional information or
help you desire in connection with the ex¬
ploitation of this picture—

Wire or Write
HAL HORNE,

Advertising & Publicity Dept.,
United Artists Corp., 729 7th Ave.,
New York, N. Y.
or your nearest

UNITED ARTISTS EXCHANGE

22 x 28

14 x 36

22 x 28

I

MAKE

THE

BY

WHOLE TOWN COOPERATE
SELLING DEALERS SPACE IN

• THIS HERALD

Heralds are miniature billboards and afford you an opportunity of
smashing home" a message to your patrons at very slight cost. The
herald prepared on "I Cover the Waterfront” has been reproduced in
rich, warm, attractive colors that will catch the eye of your patrons and
leave them with an urge to see the picture when it plays your theatre.
The back page of this accessory has been left blank for the imprint
of local dealers who can help defray the cost of buying and distributing
this high-powered seat-seller.

TELL THEM WITH TRAILERS

To permit you to take full advantage of the advertising possi¬
bilities of your screen, a punchy trailer, complete with interest-
arousing scenes and strong sales copy, has been prepared for your
use.

Trailers enable you to reach the people who make up the back¬
bone of your audience and afford you an opportunity of striking
home the salient points of "I Cover the Waterfront” in terms of
entertainment.

National Screen Service has prepared a trailer which not only
gets its message home in very brief time, but also, through its
mounting and artistic finish, conveys to the patron the production
values that are to be found in "I Cover the Waterfront.”

Write for special contract arrangement

NATIONAL SCREEN SERVICE, Inc.

126 West 46th St., N. Y. C. 1307 So. Wabash Ave., Chicago, Ill.

1922 So. Vt. Ave., Los Angeles, Calif.

300Vi So. Harwood St., Dallas, Tex.

Above—Cover of
Herald

Right — Inside
spread of Herald

Herald Colors
Green and Magenta

HERALDS

COST

ONLY

$3-00

per thousand

JOSEPH M.SCHENCK.

.a BEN IYO

and ERNEST TORRENCE

A strange story of strange loves among the strange people of
the seaports. Human contraband smuggled in the bodies of giant
sharks. The scourge of the waterfront risking life itself for a
man he hated — a man his daughter loved.

' \ From the Famous Book

IsT by MAX MILLER

EDWARD

production

UNITED

ARTISTS

PICTURE

BRING THEM IN WITH THESE ACCESSORIES!

Accessories are the backbone of your contact with the public. Use them for all they are worth.
Everything you can possibly need in the way of advertising material has been prepared for your use on
this picture. On this page you will find the heralds and slide. Then there is a flashy array of litho¬
graphs including one. three, six, and twenty-four sheets. Large heads of stars are brought out in vivid
colors to catch the eye. Use these cut-outs for your marquee.

Lobby Displays—this material is to be used in your lobby, the show-window of your business.

Cuts and mat's have been prepared and are illustrated in this press book. Make use of the stories and
sell your local editors on the idea to run photos of the leading characters.

All this material has been prepared to assist you in putting over a whale of an exploitation campaign.

Your

Slide

f

/ II

rom the Department of ADVERTISING and PUBLICITY

UNITED ARTISTS CORPORATION

729-SEVENTH AVENUE a NEW YORK CITY

Complete EXHIBITORS
CAMPAIGN BOOK

For U. S.
Mailing
Place

Here

*

X

COVER. THE
_JNT

“I know ships ...and people
from the four corners of the
earth... heroes... fatheads...
and fourflushers.

“I know the fine things
and the stinking things of
life . . . down there on the
waterfront.”

CLAUDETTE COLBERT
BEN LYON
ERNEST TORRENCE

Presented by JOSEPH M. SCHENCK

Produced by Edward Small
From the famous book by Max Miller

Printed in V. S. .T.

13—■Two Col. Ad (Mat .10; Cut .40)

Scanned from the United Artists collection at the Wisconsin
Center for Film and Theater Research.

Digitization and post-production completed in the University
of Wisconsin-Madison's Department of Communication Arts,
with funding from the Mary Pickford Foundation.

www.marypickford.org

DIGITAL LIBRARY

MEDIA

HISTORY

www.mediahistoryproiect.org